Redbook Reads: Q&A with Suzanne Rindell

The author, who makes her debut with The Other Typist, reveals her inspiration, future plans, and what happens when you hear voices.

What inspired you to write The Other Typist? I was working on my dissertation and was immersed in 1920s literature and culture. In the course of my research, I came upon an obituary of a woman who had worked as a typist in a police precinct during Prohibition. I was fascinated with what that might have been like, and curious about the kinds of things this woman must've seen and the reports she must've had to type up. My imagination kind of ran away with me, because shortly thereafter, I started hearing Rose's — the narrator's — voice. I decided to listen to her and see where her story led!

Rose is a fascinating, often puzzling narrator. Can you tell us the thought process behind developing her story and personality? It's hard to describe, because the process was kind of passive in a way. As I mentioned above, I started hearing Rose's voice and just listened. It became clear to me early on that she was not always telling the truth, and that she had a somewhat skewed perspective on the world around her. I found I was really interested in how she seemed to be lying to herself, and in a lot of ways, developing her character was a process of trying to figure out why she was the way she was, and what her formative experiences must have been.

What about the second-most important character after Rose: the charismatic and mysterious Odalie. How did she come to be, in relation to Rose — and as her obsession? Rose definitely materialized first, and Odalie arrived on scene as the object upon which Rose was fixated. I always knew Odalie was going to be a slippery character whose backstory never quite jibes; I was interested in her as a sort of female Gatsby. When it came to both of these characters, I wanted to play with the idea of truth, but in different ways. Odalie lies on the surface of things, through lots of layered misdirection. Rose lies to herself. Odalie provides the obvious "mystery," but in my opinion, I think the much deeper mystery is really to be found in Rose and her twisted brain.

Advertisement - Continue Reading Below

Can you talk a bit about the obsessive relationship Rose has with Odalie? I think, more than anything, Rose is profoundly lonely, and doesn't understand how to be close to another human without being clingy and smothering. Also, her sexuality has been totally repressed all her life. She was raised by nuns to be a prude. I don't see her as having one sexual orientation or another: she's not so much "straight" or "gay" as she is plain old "broken." She's been rather asexual most of her life, and thus when her sexuality surfaces, it's kind of confused and combustible.

How do you see the role of men in the book? Rose is fatherless, Odalie's romantics are fleeting and riddled with lies, and both women's relationships with their male coworkers are dysfunctional. How does the impact — or lack thereof — of these men affect the novel? It's funny; a lot of people have told me the Lieutenant Detective, one of Rose and Odalie's bosses, is the most likable character in the book. They've also expressed frustration over the fact Rose doesn't like him and treats him so poorly. During the editing process, I tried to make Rose be nicer to the Lt. Detective, but she wouldn't do it! I realized the Victorian ideals of feminine purity to which she subscribes keep her from being able to have any kind of relationship with men, for fear it be loaded with sexual overtones. She sees Odalie as a "safe" place to lodge her need for intimacy and companionship, as once again, according to her Victorian codes, sisterly companionship is a-okay. However, Odalie is not playing by the same rulebook. She couldn't care less for Rose's outmoded Victorian morals. She's a "modern" woman who will take down her competition any which way she sees fit. She only pretends to care about sisterhood, and plays Rose like a fiddle.

Advertisement - Continue Reading Below

The ending! I knew something big was coming, but I was still surprised and a bit confused by the turn of events. Did you deliberately leave things open to interpretation? Well, I have an idea of what I think happened, but I'm usually reluctant to share it, because I don't like robbing a reader of any theory developed on his or her own. Once again though, for me, this goes back to the writing process being a rather passive state. As I listened to Rose's voice in my head, I wondered to myself sometimes: Is Rose just totally nuts? Even I had my doubts! But in the end, I saw the end scene as Rose's final transformation. Her eyes are open, she's finally able to drop the I-miss-the-days-of-Victorian-sisterhood act, and become a new, terrifyingly "modern" woman.

What are you reading now? I'm rereading lots of stuff from the 1950s era: Salinger, Keroauc, Capote, Didion, Plath. All sorts of wonderful classic stuff!

Do you have an all time favorite novel or author? This question is too difficult! I have too many favorites to name. But I will say, while cliché, my love of American modernists like Fitzgerald and Hemingway are what made me (a) want to go to grad school, and (b) write this particular novel as my first book.

Can you share any details about what you're working on now? I'm working on a second novel. It's set in the 1950s in Greenwich Village, and follows around a group of young beatniks and publishing types. I'm really enjoying this new cast of characters.

Do you have any advice for aspiring novelists? Write everyday, and remember to love the work. The best writing evolves from a sense of play. And read, read, read!

A Part of Hearst Digital Media
Redbook participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites.